University of California, Santa Barbara
Davidson Library
Department of Special Collections
California Ethnic and Multicultural Archives
GUIDE TO
THE SELF HELP GRAPHICS ARCHIVES 1960 – 2003 [bulk 1972-1992]
Organizational History | | Scope Note | | Series Descriptions | | Oversize
Container List
APPENDIX B - SLIDES SUPPLEMENT 1 (1991-2003)
Assemblage
Artist Unknown; Altar; November
1996; mixed media;
Site/Location: Self-Help Graphics & Art, Inc. 3802 Cesar E.
Chavez Ave, Los Angeles CA 90063;
Comments: An altar with crosses, candles, flowers, papel picado, pan de muerto
(pretzels) and images of the deceased and religious figures. “Self-Help
Graphics & Art collaborated with Glasgow Print Studio in their first ever
Day of the Dead Celebration.”
ID No. Cat.1 001
Assemblage
Artist Unknown;
Altar for the Day of the Dead at Galería Otra Vez; November 1991; mixed
media;
Site/Location: Self-Help Graphics & Art, Inc. 3802 Cesar E. Chavez Ave, Los Angeles CA 90063;
Comments: Altar under flower arches composed of framed photographs, small
sculptures, flowers, candles, et cetera. “Golden Cempazuchiles
[Zempoalxochitles - marigolds] are used in traditional altars. The name means
'twenty flowers.' They are associated with wisdom, beauty, truth, and 'the
desire never to die.'”
ID No. Cat.1 002
Assemblage
Artist Unknown;
Altar to la Virgen; n.d.; mixed media;
Site/Location: Self-Help Graphics & Art, Inc. 3802 Cesar E. Chavez Ave, Los Angeles CA 90063;
Comments: Altar on the steps leading to the statue of la Virgen de Guadalupe
is composed on many devotional candles, religious icons, marigolds, and flower
petals.
ID No. Cat.1 003
Assemblage
Artist Unknown;
Altar to Sister Karen Boccalero; ca. 1990's; mixed media;
Site/Location: Self-Help Graphics & Art, Inc. 3802 Cesar E. Chavez Ave, Los Angeles CA 90063;
Comments: Altar is enormous, taking up an entire exhibition room, and is
composed primarily of candles and flowers. “Sister Karen is respected and
loved by many Chicano/a artists in Los Angeles. Sister Karen is the founder of
Self-Help Graphics & Art.”
ID No. Cat.1 004
Assemblage
Artist Unknown;
Day of the Dead Altar; October 1993; mixed media;
Site/Location: Self-Help Graphics & Art, Inc. 3802 Cesar E. Chavez Ave, Los Angeles CA 90063;
Comments: Altar is composed of items placed on two shelves. On the upper
shelf is a framed photo of Cesar Chávez that has been altered to make it appear
that Chávez is dressed as a calavera. Above his picture hangs the Lotería
image of "El Valiente". Also on the shelf with the portrait is a
vase of flowers, a statuette of La Virgen de Guadalupe, a bowl of nuts, a
candle, and a sugar skull. On the lower shelf is a black-and-white photo of a
Mexican family, a bowl of vegetables, candles, and a copy of the book Conquering
Goliath.
ID No. Cat.1 005
Assemblage
Artist Unknown;
Flores de Esperanza Altarpiece (detail); November 2, 1996; mixed media;
Site/Location: Self-Help Graphics & Art, Inc. 3802 Cesar E. Chavez Ave, Los Angeles CA 90063;
Comments: Visible portion of the altar features a large yellow sculpture of a
calavera, a Mexican Coca-Cola, a candle, a donut, and marigold petals.
ID No. Cat.1 006
Assemblage
Artist Unknown;
Flowers; n.d.; mixed media;
Site/Location: Self-Help Graphics & Art, Inc. 3802 Cesar E.
Chavez Ave, Los Angeles CA 90063;
Comments: Visible portion of an altar for the deceased is composed of an ear
of dry corn, marigolds, a calavera sculpture, placards with the names of the
dead, a ceramic candleholder, and a candle.
ID No. Cat.1 007
Assemblage
Artist Unknown;
(title unknown); ca. 1990's; mixed media;
Site/Location: Self-Help Graphics & Art, Inc. 3802 Cesar E.
Chavez Ave, Los Angeles CA 90063;
Comments: An altar on a tabletop with marigolds, daisies, pottery, a
candleholder, an ear of corn, a small sculpture, a Virgen veladora, and cards
with peoples' names. “Cempazuchiles [Zempoalxochitles] (marigolds) are
traditionally used in altars. The name means 'twenty flowers'.”
ID No. Cat.1 008
Assemblage
Artist Unknown;
(title unknown); ca. 1990's; mixed media;
Site/Location: Self-Help Graphics & Art, Inc. 3802 Cesar E.
Chavez Ave, Los Angeles CA 90063;
Comments: A large altar composed of flowers, sarapes, photographs, food,
skulls, candles, beer bottles, and many other items.
ID No. Cat.1 009
Assemblage
Artist Unknown;
(title unknown); ca. 1990's; Plastic crates, photographs, garments, flowers,
artworks, candles;
Site/Location: Self-Help Graphics & Art, Inc. 3802 Cesar E.
Chavez Ave, Los Angeles CA 90063;
slide photo: Mario Lopez;
Comments: Altar to an unknown man composed of plastic crates, photographs, a
fedora and jacket, flowers, artwork, and candles.
ID No. Cat.1 010
Assemblage
Artist Unknown; (title unknown); 1977; mixed
media;
Site/Location: Self-Help Graphics & Art, Inc. 3802 Cesar E.
Chavez Ave, Los Angeles CA 90063;
Comments: Altar is composed of papel picado, calavera masks, flowers, small
sculptures, devotional icons and statues, fruit, candles, etc.
ID No. Cat.1 011
Assemblage
Artist Unknown;
(title unknown) (detail); 1977; mixed media;
Site/Location: Self-Help Graphics & Art, Inc. 3802 Cesar E. Chavez Ave, Los Angeles CA 90063;
Comments: Visible portion of altar features pan de muerto, papel picado,
marigolds, a candle, a straw sculpture, and an ojo de Dios.
ID No. Cat.1 012
Assemblage
Artist Unknown;
(title unknown); November 1, 1992; mixed media;
Site/Location: Self-Help Graphics & Art, Inc. 3802 Cesar E. Chavez Ave, Los Angeles CA 90063; 4 slides.
Comments: 1. An altar on steps embedded with pieces of ceramic pottery.
Religious candles, marigolds, and flower petals. 2. Altar on steps embedded
with pieces of ceramic pottery. The steps lead to a platform where a large
statue of Our Lady of Guadalupe rests. In this photo, devotional candles
surround the base of the statue, of which only the bottom is visible. 3. Altar
at the base of a statue of La Virgen de Guadalupe composed of flowers and
candles. 4. Altar in the form of a cross at the foot of a statue of la Virgen
de Guadalupe composed of flowers and candles.
ID No. Cat.1 013(1-4)
Assemblage
Artist Unknown;
(title unknown); 1994; mixed media;
Site/Location: Self-Help Graphics & Art, Inc. 3802 Cesar E. Chavez Ave, Los Angeles CA 90063; 3 slides.
Comments: An ofrenda/altar so large it fills an entire kitchen. In the third
photo, detail is of a photograph of a man surrounded by flowers, sculptures,
and candles, from the altar that fills an entire kitchen.
ID No. Cat.1 014(1-3)
Assemblage
Artist Unknown;
(title unknown); 1994; mixed media;
Site/Location: Self-Help Graphics & Art, Inc. 3802 Cesar E.
Chavez Ave, Los Angeles CA 90063;
Comments: Assemblage in a corner of an exhibition space consists of a large
book that has been fixed open by the melted wax of candles. There are items
pertaining to consumerism, beer bottles, an American flag, and a Mexican flag.
ID No. Cat.1 015
Assemblage
Artist Unknown;
(title unknown); November 1994; mixed media;
Site/Location: Self-Help Graphics & Art, Inc. 3802 Cesar E. Chavez Ave, Los Angeles CA 90063;
Comments: An altar on a square table with a red tablecloth. An image of La
Virgen de Guadalupe leans against a vase of flowers that sits in the center of
the table and is surrounded by curios. The front of the table has hanging
photographs, including one of Cesar Chávez with the word “¡Presente!”
ID No. Cat.1 016
Assemblage
Artist Unknown;
(title unknown); November 2, 1996; mixed media;
Site/Location: Self-Help Graphics & Art, Inc. 3802 Cesar E. Chavez Ave, Los Angeles CA 90063;
Comments: From Day of the Dead, Flores de Esperanza Exhibition and
Celebration. Work is composed of a painting of a nude woman in a purple chair
with calaveras behind it and a bouquet of exotic flowers on a platform draped
with blue cloth. A piece of blue cloth hangs above and on the sides of the
painting and unifies the two elements.
ID No. Cat.1 017
Assemblage
Artist Unknown;
(title unknown) (detail); November 1994; mixed media;
Site/Location: Self-Help Graphics & Art, Inc. 3802 Cesar E.
Chavez Ave, Los Angeles CA 90063;
Comments: Detail is of the lower part of an altar, with photographs, flowers,
calaveras, and candles.
ID No. Cat.1 018
Assemblage
Artist Unknown; asst: Chaz Bojórquez; David Alfaro Siqueiros; ca. 1990's; mixed
media;
Site/Location: Self-Help Graphics & Art, Inc. 3802 Cesar E.
Chavez Ave, Los Angeles CA 90063;
Comments: Photo is of an altar to muralist David Alfaro Siqueiros composed of
a portrait painting of the artist surrounded by candles, flowers, artworks, and
tools of the trade. Text forming an arc above the painting reads "David
Alfaro Siqueiros" in graffiti script. Text beneath the name gives his
lifespan. “Chaz has worked with graffiti since 1969. He usually works with a
paint brush rather than a spray can.”
ID No. Cat.1 019
Assemblage
Adams, Tanda -- Blaine Meyers, Roach McIntyre, and
Steckermeirer; Esta Noche; ca.
1990's; mixed media;
Site/Location: Self-Help Graphics & Art, Inc. 3802 Cesar E.
Chavez Ave, Los Angeles CA 90063;
Comments: Assemblage is composed of plastic covering the outside of a
chickenwire cage in the form of a coffin. On top of the coffin is a calavera
with flowers and leaves. Within the coffin is an altar behind red curtains
with calavera diners. Surrounding the stand of the coffin are more flowers and
vegetable matter.
ID No. Cat.1 020
Assemblage
Beltran, Margaret;
Altar; November 1994; mixed media;
Site/Location: Self-Help Graphics & Art, Inc. 3802 Cesar E. Chavez Ave, Los Angeles CA 90063; 6 slides.
Comments: Altar composed of items set atop wooden blocks painted pink and
yellow. Items include framed photographs, flowers, pan de muerto, candles,
sugar skulls, etc. Above the altar is an arch of marigolds, and on the wall
behind it hang pieces of papel picado. The papel picado piece that hangs in
the center has calaveras and the name "Blanche". It appears to be an
exhibition installation. Cross-reference with Installation Art. 4. Detail is
of the lower center portion of the altar, with a cross, a plate with tamales, a
basket of pan de muerto, and flowers. 5. Detail is of the center of the altar,
with framed photographs, a statue of La Virgen de Guadalupe, cacti, calaveras,
and pan de muerto.
ID No. Cat.1 021(1-6)
Assemblage
Bonfigli, Karen and Pat Gomez; (title unknown); 1998; mixed media;
Site/Location: Self-Help Graphics & Art, Inc. 3802 Cesar E. Chavez Ave, Los Angeles CA 90063; 2 slides.
Comments: "The Big Two Five, Day of the Dead Gallery Exhibit." 1.
Photo is of a small statue of the Virgin of Guadalupe in a pot of flowers. 2.
Photo is of flowers in ceramic pots.
ID No. Cat.1 022(1-2)
Assemblage
Esparza, Ofelia;
Altar; November 1, 1996; mixed media;
Site/Location: Self-Help Graphics and Glasgow Print Studio, Scotland; 3 slides.
Comments: "Self-Help Graphics & Art collaborated with Glasgow Print
Studio in their first ever Day of the Dead Celebration." 1. Detail of the
front left corner of altar. 2. A multi-level altar set up like stairs has a
few calaveras set on it. 3. Papel picado by Margaret Sosa features a calavera
and reads "Dia de los Muertos Los Angeles Glasgow". 4. Full view of Glasgow altar.
ID No. Cat.1 023(1-4)
Assemblage
Mireles, Ruben;
East Side Spirit; n.d.; mixed media;
Site/Location: Self-Help Graphics & Art, Inc. 3802 Cesar E.
Chavez Ave, Los Angeles CA 90063;
Comments: A caja containing a sculpture of a skull wearing a sombrero on top
of a brown bottle with a label reading, "East Side Spirit" in a mix
of Gothic and graffiti scripts. Behind the bottle is an image of La Virgen de
Guadalupe, and the visible interior side is affixed with shards of broken
glass.
ID No. Cat.1 024
Assemblage
Murdy, Ann and Alex Alferov; Memory Altar; November 1994; mixed media;
Site/Location: Self-Help Graphics & Art, Inc. 3802 Cesar E.
Chavez Ave, Los Angeles CA 90063;
2 slides.
Comments: 1. An altar with photos and numerous fruits and vegetables is
illuminated by candlelight. 2. Altar on a shelf and tabletop. On the shelves
are framed photographs, candles, sugar skulls, a pack of cigarettes, a can of
Budweiser, a bottle of Bombay Gin, and small sculptures. On the tabletop is a
cornucopia of produce.
ID No. Cat.1 025(1-2)
Assemblage
Portillo, Rose;
A Day in the Sun; November 5, 1994; mixed media;
Site/Location: Self-Help Graphics & Art, Inc. 3802 Cesar E. Chavez Ave, Los Angeles CA 90063;
Comments: Three-dimensional assemblage-painting features two calaveras amidst
milagritos, hearts, and small vegetables. On top of the piece is a bunch of
grapes, false roses, a UFW huelga flag, and three pins with the words "No
Grapes".
ID No. Cat.1 026
Assemblage
Rivas; (title
unknown); 1992; mixed media;
Site/Location: Self-Help Graphics & Art, Inc. 3802 Cesar E. Chavez Ave, Los Angeles CA 90063;
Comments: Altar on a set of four shelves. The lowest shelf has small boxes
that resemble coffins. The next shelf up has four items set on lace doilies.
The second shelf from the top has a tray of pan de muerto and a framed
black-and-white photograph. The top shelf has candles, calaveras, and an image
of the Virgin of Guadalupe. Above the shelf are five ceramic calavera masks.
Flowers are grouped at the base of the shelving. This photo is out of focus.
“An offering of the deceased's favorite foods is traditional for altars.”
ID No. Cat.1 027
Assemblage
Rodriguez, Enrique;
Santísima Muerte; November 5, 1994; mixed media; 15" x 19"
Site/Location: Self-Help Graphics & Art, Inc. 3802 Cesar E. Chavez Ave, Los Angeles CA 90063;
Comments: Three-dimensional painting depicts the Virgen de Guadalupe as a
calavera. In her hands is a sacred heart with the face of Christ. The moon
upon which she stands has a skeletal face and drinks a bottle of tabasco
sauce. Small cherubim sit on guitars on either side of the moon. Interspersed
among the rays of light that emanate from la Virgen are milagros in the shape
of arms and legs. Small sculptures affixed to the outer edge of the piece form
a border. At the top is a blue cross; the rest are bones, bottles, dishes, and
flowerpots. The work is signed and dated in the lower right corner, but the
signature is indecipherable. “Calaca as a virgin.”
ID No. Cat.1 028
Assemblage
Rodriguez, John;
Luchando Con La Vida; November 5, 1994; mixed media;
Site/Location: Self-Help Graphics & Art, Inc. 3802 Cesar E. Chavez Ave, Los Angeles CA 90063;
Comments: A caja with glass doors that are propped open. At the back of the
caja is the painted or drawn image of a sorrowful woman clutching an icon of
the sacred heart. In front of her are candles and flower petals. Painted on
the front of the box is the artist's last name. “Agonized person (possibly
dead) holding framed sacred heart, inside curio cabinet.”
ID No. Cat.1 029
Assemblage
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XXXVIII, AtYr: 2001
Aguilar, Laura; Grandma; April 10-21, 2001; silkscreen;
18" x 26"
66 ed.; prnt: José Alpuche; sign: Yes. Inscription: [illegible] Grandma Laura Aguilar 01; fund: Self-Help Graphics & Art; slide photo:
UCSB Photography; copies: 2.
Comments: Photosilkscreened family photos on a yellow background with
anecdotal text. "3 photographs. Grandma taken 1920-1923. Grandma, Aunt
Bea, brother John, and self. Last of grandma and self. Text about
grandma."—Laura Aguilar. Colors used: Cream White, LT White Yellow, Clear
Gloss, Sepia, and Silver. From Maestras II.
ID No. Cat.2 001
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XXXIX, AtYr: 2001
Alvarez, Jack; Dos Mundos (Two Worlds); August 28-31,
2001; Coventry Rag, 290 gms.; 15" x 21"
84 ed.; prnt: JoséAlpuche; sign: Yes. fund: Self-Help Graphics & Art;
slide photo: UCSB photography; copies: 2.
Comments: "Hand Pulled Serigraph print. Six colors on Coventry rag
paper. Art print contains; yellow background, blue/gray surface.
Female/Virgin figure in center with halo-like shape over head. Symbolism
includes; plant forms (3) crosses in and above the horizon. This print is
based on the Christian religion's influence on the indigenous people of the
America's mainly the Hispanic cultures. I hope to portray the surrealistic
landscapes of the spiritual world. The iconography plays between the time
before the Spanish conquest and the aftermath of it. It was a conquest of a
way of life, but not a conquest of the spirit."—Jack Alvarez. Colors
used: Light Yellow 1205, Charcoal Brown 497, Light Lavender 503, Gray Black
431, Orange 130, and Blue/Gray 5493.
ID No. Cat.2 002
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XXXIII, AtYr: 1999
Alvarez, Laura; The Double Agent Sirvienta Blow Up the Hard
Drive; 1999; 18" x 22"
56 ed.; prnt: José Alpuche; sign: Yes. fund: Self-Help Graphics & Art;
slide photo: unknown; copies: 2.
Comments: Image is of a maid typing on a laptop and speaking into a
communication device in her backpack. There is fire in the background and the
entire print is covered in alphanumeric symbols that resemble lines of computer
code. At the top of the print is a filetab with the text, "File:/Translation.underdone".
"The Double Agent Sirvienta, surrounded by the computer goobledy gook is
discovered while mixing up files on a laptop computer."—Laura Alvarez.
From Maestras I.
ID No. Cat.2 003
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XXXIII, AtYr: 1999
Alvarez, Laura; Mission in the Garden; March 27-30, 2001;
Coventry Rag, 290 gms.; 18"x 22"
74 ed.; prnt: José Alpuche; sign: Yes. fund: Self-Help Graphics & Art,
Inc.; slide photo: UCSB Photography - Photography of duplicate by Marissa Rangel.;
copies: 2.
Comments: "The Double Agent Sirvienta, an international spy posing as a
maid and expert in the field of domestic technology, looks after and involves a
blond baby in secret missions while vacationing in a tropical garden
landscape. The agent/gardener in the distance is really her childhood
sweetheart from a small Mexican Colonial town, but with the plastic surgery
after his accident, she doesn't recognize him. Her mission plan hovers in the
grass with the promise of love and small explosions. A small toy hides the
preciouse [sic] data. Will the Double Agent Sirvienta be caught as she
scrambles the files of a laptop while "cleaning" out a big wigs
bedroom? Fire is in the background, gobbledy-goop surrounds her. She is a spy
posing as a maid."—Laura Alvarez. This print is alternately titled The
Double Agent Sirvienta: Blow Up The Hard Drive. Colors used: Light Green,
Pink, Brown Skin, Sky Blue, Yellow, Light Flesh, Brown Skin (again), Dark
Green, Black, and Clear Gloss. From Maestras II.
ID No. Cat.2 004
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XXXIX, AtYr: 2002
Amos; 98 (degrees) in the Shade; January 6-12, 2002; Coventry
Rag, 290 gms.; 16" x 22"
50 ed.; prnt: Amos; sign: Yes. fund: Self-Help Graphics & Art, Inc.; slide
photo: UCSB Photography;
Comments: "Prints shows el paletero (icecream man) huffing onward w/
achey [sic] feet/cloudy head/and running on empty. The blended background gives
the illusion of extreme heart. With the sun beating down, symbols surround the
figure showing what he is working for, what has been left behind, his hopes and
his realities, and what is in the future."—Amos. Colors used: Blend
Orange/Tan, Turquoise Blue, Red Sh. Blue, Yellow, Ochre, Sienna, Magenta, Grey
(light), Black, Trans White (t.p.'s only), and Trans Black (t.p.'s only).
ID No. Cat.2 005
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: Special Project, AtYr: 2000
Arai, Tomie; Double Happiness; November 7-10, 2000;
Coventry Rag 290 gms.; 25" x 31"
42 ed.; prnt: José Alpuche; sign: Yes. Inscription: 10/42 Double Happiness Arai '00; fund: Self-Help Graphics & Art; slide photo:
UCSB Photography; copies: 2.
Comments: "Image of an Asian woman eating with chopsticks; loteria cards
and Japanese 'Hanfuda' playing cards, & map of East L.A. are set against a
black background. Double Happiness is a piece about the mix of cultures that
make up the East L.A. / Boyle Heights Community. In this piece a young Asian
woman reflects while she is eating; the interplay of Japanese Chicano and
Chinese from Boyle Heights and Monterey Park are represented through an array
of Chicano loteria cards, Japanese 'Hanafuda' cards and Chinese English
language flash cards."—Tomie Arai. Colors used: Yellow, Blue, Green,
Pink, Red, Black, and Silver.
ID No. Cat.2 006
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XXXVI, AtYr: 2000
Arai, Tomie; Kaeru / Finding Home; May 1-6, 2000; Coventry
Rag 290 gms.; 20 1/8" x 28 1/4"
60 ed.; prnt: José Alpuche; sign: Yes. Inscription: 60/60 Kaeru/Finding Home Arai '00; fund: Mid
Atlantic Arts Foundation, and the National Endowment for the Arts; slide photo: UCSB Photography; copies: 4.
Comments: "7 color silkscreen was produced in conjunction with a two
month residency at Self-Help Graphics through an Artist & Communities/Mid
Atlantic Arts Foundation and NEA grant. In this piece, a young boy is pulling
back a screen to reveal an array of images which represent memory and the
passage of time. These images form a visual arc or lifeline which flow towards
a taiko drum head with rose imprinted on it. The rose (an image symbolic of my
stay in East LA) represents the heart and pulse. "KAERU/ FINDING
HOME" is a piece which explores the construction of identity through a
reconnection with the past."—Tomie Arai. Colors used: Yellow,
Gray/Green, Light Gray Green, Blue, Pink, Black, and Yellow/Brown.
ID No. Cat.2 007
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: Special Project, AtYr: 2002
Attyah, David "Think Again"; No Bullshit; July
25-27, 2002; Coventry Rag, 290 gms.; 16" x 22"
88 ed.; prnt: José Alpuche; sign: Yes. slide photo: UCSB Photography; copies:
2.
Comments: "An "invasion" of doorknobs gathering to resist
displacement and eviction. "No Seremos Desalojados." In collaboration
with the "We Shall No[t] Be Moved" project."—David “Think Again”
Attyah. Colors used: Fire Red, Orange, Teal, Purple, Dark Purple, and Dark
Fuscia.
ID No. Cat.2 008
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XXIV, AtYr: 1994
Bojórquez, Chaz; New World Order; June 28-July 2, 1994;
Silkscreen; 33 1/2" x 26"
59 ed.; prnt: José Alpuche; sign: Yes. Inscription: [illegible] New World Order Chaz Bojorquez 94; fund: Self-Help Graphics & Art; slide photo:
unknown; copies: 2.
Comments: Black and white print features the names of conquistadors in
graffiti script on the background of an Aztec stele.
ID No. Cat.2 009
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XXXVIII, AtYr: 2001
Cardenas, Cristina; Santa/Maguey; March 20-24, 2001;
Coventry Rag, 290 gms.; 18" x 26"
77 ed.; prnt: José Alpuche; sign: Yes. Inscription: 20/44 Santa Maguey CCardenas 01; fund: Self-Help Graphics & Art; slide photo:
UCSB photography - Photo of duplicate by Marissa Rangel; copies: 2.
Comments: Atelier silkscreen print depicts a woman, nude from the waist up,
with her arms wrapped about her torso and her hands clutching leaves of the
maguey plant behind her. Her head is tilted back and her eyelids droop. The
background is made up of floral and vegetable images. Colors used: Light
Yellow, Red Orange, Thalo Blue, Purple, Transparent Orange, Gold, Mid-T-Yellow,
Off White, T-Sienna, T-Red Black, and Dark Burgundy. From Maestras II.
ID No. Cat.2 010
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: Special Project, AtYr: 1993
Cardenas, Cristina; La Virgen de los Pescados; April 2-9,
1993; Silkscreen; 34" x 26"
75 ed.; prnt: José Alpuche; sign: Yes. Inscription: 18/37 CCardenas 93;
fund: Self-Help Graphics & Art; slide photo: unknown; copies: 2.
Comments: Image of a woman with Guadalupan attributes. She holds a bouquet of
flowers hemmed in with fish. Text in script at the bottom of the print reads,
"La Virgen de los Pescados".
ID No. Cat.2 011
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XXXIII, AtYr: 1999
Carrasco, Barbara; Dolores; 1999; silkscreen; 18" x
26"
unknown ed.; prnt: José Alpuche; sign: Yes. fund: Self-Help Graphics &
Art; slide photo: unknown; copies: 2.
Comments: "Hard edge graphic image of Dolores Huerta, co-founder of the
United Farm Workers Union, with her name, Dolores, printed above her portrait
image."—Barbara Carrasco. From Maestras I.
ID No. Cat.2 012
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XXXIII, AtYr: 2001
Carrasco, Barbara; Primas; April 18-20, 2001; Coventry
Rag, 290 grms.; 18" x 26"
62 ed.; prnt: José Alpuche; sign: Yes. Inscription: 20/62 "Primas" Carrasco 01; fund: Self-Help Graphics & Art; slide photo:
UCSB photography; copies: 2.
Comments: "Portrait of the artist's daughter and niece in an embrace,
surrounded by a braid (trensa) showering hearts around the portraits. The
trensa represents the older women in the lives of the young girls, nurturing
their love for each other and themselves as strong and independent females.
The trensa also symbolizes traditional values and customs and rituals. The
girls' hair is loose and flows freely next to the tightly braided trensa. The
trensa is opening up to allow love to flow towards the girls. *Note: The clear
varnish is not matched up (registered) with the background and every print
color. The style is hard edge graphic with flat colors, no texture. Most of
the color separations were hand-cut with amberlith with some ink work applied
minimally as touch ups."—Barbara Carrasco. Colors used: Peach,
Skin-Beige, Skin-LT. Brown, Lime Green, Turquoise, Purple, and Clear.
ID No. Cat.2 013
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XXXIII, AtYr: 1999
Cervantez, Yreina D.; Mujer de Mucha Enagua: Pa' Ti Xicana;
1999; silkscreen; 18" x 26"
60 ed. prnt: José Alpuche; sign: No. fund: Self-Help Graphics & Art;
slide photo: unknown; copies: 2.
Comments: Image is of poet Sor Juana Inés de la Cruz (a.k.a. Sor Juana de
Asbaje) and E.Z.L.N. comandante Ramona. Between the two of them is a hand with
a spiral and the words "mixik' balamil" in the palm. On Sor Juana's
habit are many Nahuatl words and the English poem, "Blessed lady / do not
go / Mother do not / Cause us woe / If to heaven / you ascend / will you still
/ your love extend?" On Ramona's dress is a quote from the Popol Vuh and
the words, "Todos Somos Ramona". "Tan background with stylized
stars, flowers, and spots representing the pelt of the sacred jaguar. Three
main female figures: la mujer Zapatista con sus niños, Sor Juana with portrait
of poet Rosario Castellanos in her bosom. The central image is the hand of the
goddess. Various Nahua and Mayan symbols along with text and
poetry."—Yreina D. Cervantez. From Maestras I.
ID No. Cat.2 014
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XXXV, AtYr: 2000
Charette, Damian; Bone Yard; February 15-17, 2000;
Coventry Rag, 290 gms.; 16" x 13"
91 ed.; prnt: José Alpuche; sign: Yes. fund: Self-Help Graphics & Art;
slide photo: UCSB photography; copies: 2.
Comments: "AZ sunset with old cars. The image is one of the many scenes
of Reservations in Montana and AZ. Cars are kept in back yards, empty lots (ie
LA, Phoenix, Etc...) for many different reasons and they become a part of the
landscape. The stories of many of the owners are varied. To me they represent
time history and a place for occasional stray (man or beast) to live for a
short time. Everyone seems to find their own story with in the image of days
gone by or the possibilities held with in the cars frame work."—Damian
Charette. Colors used: Blend (purple, red, yellow), Red, Green, Yellow, Blue,
and Black.
ID No. Cat.2 015
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: Special Project, AtYr: 2002
Crute, Jerolyn; The Key; July 20, 23, and 24, 2002;
Coventry Rag, 290 gms.; 16"x 22"
89 ed.; prnt: José Alpuche; sign: Yes. fund: Self-Help Graphics & Art,
Inc.; slide photo: UCSB Photography; copies: 2.
Comments: "Four adult figures plus one child pushing against green man
with City Hall in his pocket. Two figures holding house with large key hole.
Key up in the air between reaching hands with sky background."
"Image designed for the "We shall not be moved" Project with
anti-gentrification theme. The community is protecting their homes from greedy
big business. Although big business has City Hall in it's pocket, the community
has access as well if they pull their string. The struggle to gain control
represented by the key is up in the air."—Jerolyn Crute. Colors used:
Golden Yellow, Light Brown, Brown, Cyan, Red, and Dark Brown.
ID No. Cat.2 016
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: unknown, AtYr: 1981
de Batuc, Alfredo; D.O.D. 1981: Las Cuatas; 1981;
silkscreen; 17" x 22"
71 ed.; prnt: unknown; sign: unknown. fund: Self-Help Graphics & Art;
slide photo: unknown; copies: 2.
Comments: Print is a reinterpretation of Frida Kahlo's "The Two
Fridas". In this version, the Frida on the left has the face of a
calavera and holds a mask of Frida's face. The Frida on the right holds a
calavera mask. They hold hands and are connected by a common circulatory
system. Cherubim on either side of the Fridas hold a banner bearing the words,
"Dia De Los Muertos 1981". Atop columns on either side of the print
rest a rat, left, and a bird, right. Through three windows behind the Fridas
three different scenes are visible: the Hollywood sign, City Hall, and Watts
Towers.
ID No. Cat.2 017
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XL, AtYr: 2002
Delgadillo; Victoria; Knowingly Walking Through the Imaginary
River Towards Divine Destiny; April 30 and May 1-5, 2002; Coventry Rag, 290
gms.; 18"x 26"
82 ed.; prnt: José Alpuche; sign: Yes. fund: Self-Help Graphics & Art,
Inc.; slide photo: UCSB Photography; copies: 2.
Comments: Atelier silkscreen print depicts a woman crossing a river toward the
viewer. Her skin and hair are multicolored. In her right hand she holds a
black cylinder with an image of an anatomical heart. In her right hand she
holds a yellow rectangle featuring the "Wheel of Fortune" card from
the tarot deck. The background is a Los Angeles cityscape with a green sky,
yellow sun, and black skyscrapers. Several sacred hearts dot the horizon.
Colors used: Light Yellow, Dark Yellow, Pale Grey, Dark Green, Red, Dark Blue,
Light Blue Transparent, Medium Yellow, Yellow-Green, Brown, Salmon Pink, Beige,
Medium Yellow. From Maestras III.
ID No. Cat.2 018
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XXIV, AtYr: 1994
Duffy, Ricardo; Primavera; May 31- June 3, 1994;
Silkscreen; 27" x 37"
82 ed.; prnt: José Alpuche; sign: Yes. Inscription: 16/64 Primavera Ricardo Duffy; fund: Self-Help Graphics & Art; slide photo:
unknown;
Comments: A stylized image of a mother jaguar in springtime.
ID No. Cat.2 019
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XL, AtYr: 2002
Esparza; Elena; I Know Her... All About Her; May 7-11 and
30, 2002; Coventry Rag, 290 gms.; 16"x 22"
67 ed.; prnt: José Alpuche; sign: Yes. Inscription: 2/69 I know her ...All about her... Elena Esparza '02; fund: Self-Help Graphics & Art, Inc.; slide
photo: UCSB Photography - Photo of duplicate by Marissa Rangel; copies: 2.
Comments: "Woman in Central Figure surrounded by a corona of maguey
plants. 2 spirits appear (L.L. corner) in the foreground while a third in the
background tells (URHC) the story. A humming bird hovers above the woman, with
LA central and the Belmont tunnel from the background as a point of
reference."—Elena Esparza. Colors used: Orange/Red-Opaque, Sage
Green-Opaque, Marigold-Semi Opaque, Lime Green- Transparent, Magenta-90%
Opaque, Electric Blue-Semi Opaque, and Dark Maroon-90% Opaque.
ID No. Cat.2 020
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XXXIX, AtYr: 2001
Esparza, Rubén; Hyper Myth; August 21-24, 2001; Coventry
Rag, 290 gms.; 10" x 20"
70 ed.; prnt: José Alpuche; sign: Yes. fund: Self-Help Graphics & Art;
slide photo: UCSB photography; copies: 2.
Comments: ""hyper" against yellows background.
"Myth" against blues background silkscreen "dyptich".
commentary on mass media via recognizable packaged goods and advertising design
inspired work-"—Rubén Esparza. Colors used: Clear Base, Warm Red, T.
Yellow, Baby Blue, T. White, Red Shade Blue, and Clear Gloss.
ID No. Cat.2 021
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XL, AtYr: 2002
Flores, Lysa; The Making of a Trophy Grrl!; May 21-25, 2002;
Coventry Rag, 290 gms.; 16" x 22"
75 ed.; prnt: José Alpuche; sign: Yes. fund: Self-Help Graphics & Art,
Inc.; slide photo: UCSB Photography - photo of dupe by Marissa Rangel; copies:
2.
Comments: Atelier silkscreen print is a mock movie poster for a film. Text
reads, "Chicana Feminista Films presenta The Making of a Trophy Grrl! una
drama de amor con Señora Tentacion como La Tina el mero mero La
Peligrosa". Text in the lower left corner reads, "Bring Your Love
2002". A woman's face is depicted on the left side of the print. She is
smoking a cigarette through a holder and the blue smoke spirals upward. On the
right side of the print are three figures: a nude "Señora Tentacion"
holding a fan and only wearing a blue rebozo around her shoulders. Her face is
painted to resemble that of a geisha. Beneath her and to the left is a man (el
mero mero) dressed in blue bellbottoms and pointing directly at the viewer.
His stance and dress are reminiscent of Elvis Presley. To the right of
"el mero mero" and beneath "Señora Tentacion" is the
topless bust of "La Peligrosa". On her side is an image of an eagle
with a serpent in its beak. The background is entirely red. Colors used:
Red, Ivory/Beige, Pink Flesh Tone, Burgundy/Red, Blue, Purple, Black, Yellow,
and White.
ID No. Cat.2 022
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XXXVIII, AtYr: 2001
Flores, Yvette; Greñuda; April 3-7, 2001; Coventry Rag,
290 gms.; 18" x 26"
74 ed.; prnt: José Alpuche; sign: Yes. Inscription: 20/64 Greñuda Yvette
Flores; fund: Self-Help Graphics & Art; slide photo: UCSB photography -
photo of duplicate by Marissa Rangel;
Comments: "A little girl is getting her hair done by her mother. The
words surrounding the girl express the frustration being felt by her. The
colors around her are messy and random, like her hair. The little girl in the
print is going through what every little girl goes through. She's showing
frustration and uneasiness as her mom is trying to comb her hair. The print
also shows how women from an early age suffer to fit societies views to look
good. The messy background is to represent anger and the messy way she'd
rather have her hair."—Yvette Flores. Colors used: Yellow Light, Orangel
Yellow, Red Orange, Ultra Marine Blue, Medium Flesh, Light Blue, Maroon, Ivory
White, and Light Red Orange. From Maestras II.
ID No. Cat.2 023
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XXXIII, AtYr: 1999
Gamboa, Diane; Altered State; 1999; silkscreen; 18" x
26"
75 ed.; prnt: José Alpuche; sign: Yes. Inscription: 1/1 S/P “Altered State”
Gamboa 99; fund: Self-Help Graphics & Art; slide photo: unknown;
Comments: Image is of a nude woman with purple skin dressed in bondage gear.
"Woman heavily drenched in accessory equipment and tattoos with a serpent
around her right leg."—Diane Gamboa. From Maestras I.
ID No. Cat.2 024
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XL, AtYr: 2002
Gamboa, Diane; Revelation Revolution; May 14-18, 2002;
Coventry Rag, 290 gms.; 16" x 22"
88 ed.; prnt: José Alpuche; sign: Yes. Inscription: 50/88 Revelation
Revolution Gamboa 02; fund: Self-Help Graphics & Art, Inc.; slide photo:
UCSB Photography - Duplicate photo by Marissa Rangel; copies: 2.
Comments: "The piece is set on the horizontal. The central figure is of
a woman in her white lingerie, a ring on her right hand and she is holding a
red handbag. Another woman is up front with a flower in her hair and tattoos
across her shoulders. A third woman is in the background in black line over
brown. To the right of the figures is a custom type pattern and to the left is
another pattern with flowers. The artwork is trapped in a tight black."
"REVELATION REVOLUTION is dedicated to the women of the past, present, and
futures. To the women of great accomplishments if it be physically or
intellectually and to the bad-ass women who don't take bull shit. It addresses
the limitless imagination of the communication and it is a symbol of knowledge
and wisdom. It is a look at enlightened women who do not fall into slavery of
the stereotype of woman as object. This piece is dedicated to the broad
spectrum of women who are changing the way we see ourselves and the world
around us. It is for the innovators and challengers who are unafraid of
leading and require us to think deeper. This piece looks at Urban Goddess as
visionary. This piece is also about the medium of silk screen printing. It is
about color, form, design and the love of art making."—Diane Gamboa.
Colors used: Makeup beige, chicana brown, go-go girl yellow, martini olive
green, not so red, gunmetal gray, urban goddess yellow, high heel green,
cha-cha burgundy, million dollar green, and black as black.
ID No. Cat.2 025
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: unknown, AtYr: n.d.
García, Margaret; The Next Generation; n.d.; Coventry Rag,
290 gms.; 25 1/2" x 31 1/2"
70 ed.; prnt: unknown; sign: Yes. Inscription: 4/70 The next Generation
Margaret García; fund: Self-Help Graphics & Art, Inc.; slide photo: UCSB
Photography; copies: 2.
Comments: Image is of a young child.
ID No. Cat.2 026
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XXXV, AtYr: 2000
Gil; Xóchitl; A Secret Garden; February 10-11, 2000;
Coventry Rag, 290 gms.; 16" x 22"
78 ed.; prnt: José Alpuche; sign: Yes. Inscription: 20/7 A Secret Garden
Xóchitl Gil; fund: Self-Help Graphics & Art; slide photo: UCSB
photography; copies: 2.
Comments: "Three red hearts/Roses with yellow auras on a blued blend
ground. "A Secret Garden" emerged from a series of works based on
the innocence and exploitation of sexuality. Using childlike iconography it
contains "roses" with exaggerated thorns on the stems and stylized
picked hearts as the petals. The red roses allude to the stereotypes of
idealizes [sic] romantic love while the thorns provide a harsh balance of
pain. The title refers to the childrens story "The Secret Garden" by
Francis B. Hodges, a tale about self-discovery and acceptance."—Xóchitl
Gil. Colors used: Drk to light Blue, Red, Green, Yellow 1-Medium, Yellow
2-Light.
ID No. Cat.2 027
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XXXIII, AtYr: 1999
Gomez, Pat; The Trappings of Sor Juana; 1999; silkscreen;
18" x 26"
63 ed.; prnt: José Alpuche; sign: Yes. fund: Self-Help Graphics & Art;
slide photo: unknown; copies: 2.
Comments: Image is of roses in a vase with an image of Sor Juana. A red
curtain and a rosary hang from the upper portion of the print. Beside the vase
are a stack of books and a framed image of a brain imprisoned by brambles.
Text in script in the lower right corner reads, "Liberty itself for me is
no boon: If I hold it such, it will soon be my bane. No more worries for me
over boons so uncertian [sic]: I will own my very soul, as if it
[illegible]". From Maestras I, Sor Juana Series.
ID No. Cat.2 028
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XVI, AtYr: 1991
Gomez, Pat; War Stories; March 4-8, 1991; Silkscreen;
26" x 35 1/2"
56 ed.; prnt: José Alpuche; sign: Yes. fund: Self-Help Graphics & Art;
slide photo: unknown;
Comments: Repeating image of purple and red sacred hearts and roses. The
pattern is repeated in the center of the image, however in blue and green. Over
the pattern, text describes the stories of "my uncles and
cousins."—Pat Gomez.
ID No. Cat.2 029
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XLII, AtYr: 2003
Gonzalez, Cici Segura; Props and Scenery; May 27-31 and
June 3, 2003; Coventry Rag, 290 gms; 22" x 16"
78 ed.; prnt: José Alpuche; sign: Yes. fund: Self-Help Graphics & Art;
slide photo: UCSB photography - duplicate photo by Marissa Rangel.; copies: 2.
Comments: "Multi-Colored Abst[r]act depicting minorities in background.
Gold-yellow line symbolizes color barrier in advertisement and film
industries. This abstract was created after observing first hand, how the
media (adver[t]ising & film) reduces minorities to 'Props & Scenery' in
ads and/or films. The absence of people of color, particularly in front of the
camera, in the adver[t]ising & film world is alive and well in Los
Angeles. The abstract here is the background is full of color yet there is a
color barrier represented by the yellow-gold line in the foreground."—Cici
Segura Gonzalez. Colors used: Blue, Red, Yellow, Orange, Lt. Purple, Dark
Purple, and Black. From Maestras IV.
ID No. Cat.2 030
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XLII, AtYr: 2003
Gonzalez, Yolanda; La Reyna; May 6-10, 2003; Coventry Rag,
290 gms; 22 1/2" x 15 1/2"
72 ed.; prnt: José Alpuche; sign: Yes. Inscription: 28/72 “La Reyna” Yolanda
Gonzalez 03; fund: Self-Help Graphics & Art, Inc.; slide photo: UCSB
Photography - Duplicate photo by Marissa Rangel; copies: 2.
Comments: "Female sitting arms crossed with a lovely head[d]ress and a
colorful shall [sic]. her dress is adorned by lots of textures and colors. As
he sits she's the Queen. "La Reyna"[.] The strength of the woman is
always that of a queen. "La Reyna" is loving, stern, brilliant and
always true to herself."—Yolanda Gonzalez. Colors used: Black, Blue, Red,
Ochre, Light Yellow Ochre, Light Grey, Off White, Black, and Clear Gloss. From
Maestras IV.
ID No. Cat.2 031
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: Special Project SC, AtYr: 2000
Greenfield, Mark Steven; Cause and Effect; 2000; Coventry
Rag, 290 gms.; 32" x 22"
50 ed.; prnt: José Alpuche; sign: Yes. Inscription: 13/40 Cause and Effect
Mark Steven Greenfield; fund: Self-Help Graphics & Art, Inc.; slide
photo: UCSB Photography; copies: 1.
Comments: Minstrel Orchestra in blackface with tornado in background and
text. "Weel about turn about and da jis' so / Ebry/ time I weel about I
jump Jim Crow". "Images of people in blackface have been a source of
both disturbance and fascination to me. These images are intensely powerful in
both their literal statements and in their ability to allow the viewer to
create a context through the bias of their associations. Generations of
African Americans have suffered grievous injury at the hands of people whose
livelihood was derived from creating and reinforcing stereotypes through blackface
minstrelsy. The creation of a stereotype was an essential element in
maintaining white America's illusion of superiority. It characterized us as
buffoons and tricksters, as inherently lazy and immoral and perennial children
who were dependent on the paternalism of our "masters" for survival.
Slavery, even the post emancipation more subliminal variety, was contingent on
making its victims appear to be less than human. The images I've used are
taken from late nineteenth century photographs of vaudeville and minstrel show
performers. Ironically, blackface minstrelsy, through its wholesale
appropriation of African American culture, is recognized as the "America's
first indigenous musical-theater genre." Manifestations exist to this day
in everything from black stand-up comedy to the "crews" and
"posses" of hip-hop. My work entreats the viewer to look at these
images, while at the same time looking through them, to discover an alternate
context. It is my hope that the work might offer a glimpse into the origins of
some conscious or subconscious contemporary thinking with regard to race,
color, and gender. If you are discomforted by what you see, I invite you to
examine those feelings, for out of this examination will come
enlightenment."—Mark Steven Greenfield. Colors used: Blue Green,
Burgundy, Gray/Brown, and Eggshell Yellow.
ID No. Cat.2 032
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: Special Project SUBC, AtYr: n.d.
Greenfield, Mark Steven; Some Indignities Persist; April
24 and May 8 (year unknown); Coventry Rag, 290 gms; 25" x 18"
43 ed.; prnt: SHG?; sign: Yes. fund: Self-Help Graphics & Art; slide
photo: UCSB photography; copies: 2.
Comments: "Man in blackface holds up dress against wooden fence
background with text over printed in the form of an eye chart reading
"Some Indignities Persist". Images of people in blackface have been
a source of both disturbance and fascination to me. These images are intensely
powerful in both their literal statements and in their ability to allow the
viewer to create a context through the bias of their associations. Generations
of African Americans have suffered grievous injury at the hands of people whose
livelihood was derived from creating and reinforcing stereotypes through
blackface minstrelsy. The creation of a stereotype was an essential element in
maintaining white America's illusion of superiority. It characterized us as
buffoons and tricksters, as inherently lazy and immoral and perennial children
who were dependent on the paternalism of our "masters" for survival.
Slavery, even the post emancipation more subliminal variety, was contingent on
making its victims appear to be less than human. The images I've used are
taken from late nineteenth century photographs of vaudeville and minstrel show
performers. Ironically, blackface minstrelsy, through its wholesale
appropriation of African American culture, is recognized as the "America's
first indigenous musical-theater genre." Manifestations exist to this day
in everything from black stand-up comedy to the "crews" and
"posses" of hip-hop. My work entreats the viewer to look at these
images, while at the same time looking through them, to discover an alternate
context. It is my hope that the work might offer a glimpse into the origins of
some conscious or subconscious contemporary thinking with regard to race,
color, and gender. If you are discomforted by what you see, I invite you to
examine those feelings, for out of this examination will come
enlightenment."—Mark Steven Greenfield. Colors used: Rust/Beige, Off
White, Dark Gray, and Gray Black.
ID No. Cat.2 033
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: unknown, AtYr: 2000
Greenfield, Mark Steven; Topsyturvy; 2000; 22 1/2" x
18 3/4"
43 ed.; prnt: SHG?; sign: Yes. fund: Self-Help Graphics & Art; slide
photo: UCSB photography; copies: 1.
Comments: "Photographic image of woman in blackface surrounded by a
lavender ring with the word "Topsyturvy" in blue letters that get
progressively smaller."—Mark Steven Greenfield. Color separations by Ed
Almanzor. Colors used: Black, Blue, Lavendar, and Light Ochre.
ID No. Cat.2 034
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XXXIV, AtYr: 2000
Greenfield, Mark Steven; Untitled (So Tell Me Who's the Nigger
Now); January 24-28, 2000; Coventry Rag, 290 gms.; 16" x 23 3/4"
40 ed.; prnt: José Alpuche; sign: Yes. fund: Self-Help Graphics &
Art; slide photo: UCSB photography; copies: 1.
Comments: Image of a man in drag in black face holding a feather duster with
text arranged as an eye chart reading "So Tell Me Who's the Nigger
Now". Colors used: Beige, Off White, Cold Gray/Brown, and Warm
Brown/Black.
ID No. Cat.2 035
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XXXIV, AtYr: 2000
Greenfield, Mark Steven; Untitled (Sometimes We Become What We
Hate); January 24-28, 2000; Coventry Rag, 290 gms.; 18" x 23"
50 ed.; prnt: José Alpuche; sign: Yes. fund: Self-Help Graphics &
Art; slide photo: UCSB photography; copies: 1.
Comments: Image four men in drag in black face holding golliwog dolls with
text arranged as an eye chart reading "Sometimes We Become What We
Hate". Colors used: Beige, Off White, Warm Dk Brown, and Warm
Brown/Black.
ID No. Cat.2 036
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: unknown, AtYr: 1981
Gronk; D.O.D. Commemorative 1981; 1981; silkscreen; F/C
unknown ed.; prnt: unknown; sign: No. fund: National Endowment for the
Arts and the City of Los Angeles;
Comments: Image is of a skull with black hair and eye sockets in the shape of
hearts. There are two red roses below the face. The print has been splattered
with pink ink. Text beneath the image area reads, "Dia de Los Muertos,
Commemorative Poster / Made Possible By Grants From The N.E.A., And The City Of
Los Angeles / SHG copyright 81".
ID No. Cat.2 037
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XXIII, AtYr: 1993
Gutierrez, Roberto; Avenida Cesar Chavez; November 17-20,
1993; Silkscreen; 16" x 22"
60 ed.; prnt: José Alpuche; sign: Yes. Inscription: 42/60 Cesar E. Chavez
Avenida Roberto Gutierrez 94; fund: Self-Help Graphics & Art; slide
photo: unknown;
Comments: "The local traffic patterns of local people, commemorates the
former corners of Brooklyn and Gage Avenues which will change to Avenida Cesar
Chavez. The conception of the piece was drawn on site over a period of 3
months."—Roberto Gutierrez.
ID No. Cat.2 038
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XXXIII, AtYr: 1999
Guzman, Margaret; Velo/Veil; 1999; silkscreen; 18" x
26"
65 ed.; prnt: José Alpuche; sign: Unknown. fund: Self-Help Graphics &
Art;
Comments: Image is of Sor Juana writing in a book. Her head is open,
revealing her brain. She is enclosed by a wreath. Text in the lower right
corner reads, "Sor Juana Inés de la (cross) (1669)". From Maestras
I, Sor Juana Series.
ID No. Cat.2 039
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XLI Special Project, AtYr: 2002
Healy, Wayne; Achealy's Heel; 2002; 22"x16"
60ed.; prnt: José Alpuche; sign: Yes. slide photo: UCSB photography;
copies: 2.
Comments: "Buff is background color. Cerulean blue is delineated photo
repro of Joe and WH printing. Yellow orange is text and arrows. Maroon is
dwgs of dog, panther, and lounge lizard. A play on words, the artist's
Acheille's [sic] tendon is savagely attacked by an evil Chihuahua named
Wesley."—Wayne Healy. Colors used: Buff/Lt Cream, Cerulean Blue, Yellow
orange, and Maroon.
ID No. Cat.2 040
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: Special Project, AtYr: 2001
Healy, Wayne; Bolero Familiar; December 4-7, 2001 and
January 15-19, 22-26, and 29-31 2002; Coventry Rag, 290 gms; 36" x
50"
79 ed.; prnt: José Alpuche; sign: Yes. Inscription: 6/79 Bolero Familiar
Healy; slide photo: UCSB Photography; copies: 2.
Comments: "Two guys sitting on living room couch play guitars and sing,
one girl plays maracas and sings while other girl replaces low E-string on her
guitar. A baby girl reaches for Chihuahua hiding under the coffee table. Nana
cooks food in the kitchen. I grew up with musk in the house. My aunts and
uncles would gather to play boleros made famous by Trio Los Panchos and Los
Dandys. Grandma was always cooking food served with her corpus christi style
tortillas. My wife has a Chihuahua and the miserable creature keeps showing up
in my prints."—Wayne Healy. Colors used: OHCO-U, 523 U Lavender, 106 U
Light Yellow, 345 U Light Green, 467 U Light Brown, 185 C Red, EF00 C Flesh,
TSRO-C Brown, 300 C Blue, TL00-C Orange, OIRO-C Gray Blue, 468 C Khaki, 1000 U
Yellow White, OZAF-U Purple, 165 C Orange, 266 C Violet, Black, Trans White,
and 2100 Clear Gloss.
ID No. Cat.2 041
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XXXVIII, AtYr: 2001
Hernandez, Ester; Con Cariño, Lydia Mendoza; May 15-19,
2001; Coventry Rag, 290 gms.; 18" x 26"
76 ed.; prnt: José Alpuche; sign: Yes. Inscription: 20/76 “Con Cariño,
Lydia Mendoza” Ester Hernandez 2001; fund: Self-Help Graphics & Art; slide
photo: UCSB photography; copies: 2.
Comments: "A portrait of a Mexican American woman dressed in a full
length Mexican "Folkloriko" [sic] dress. She is holding the top of
an upright acoustic guitar. The entire image is framed by a red
stripe."—Ester Hernandez. Colors used: Bluish Purple-Dark Blue Blended
into Light Blue, White (w/ blue tint), Sierra, Ochre, Gold Pearlescents, Green,
Red, Purple-Transparent, and Opaque Blue/Black.
ID No. Cat.2 042
Atelier (Self-Help Graphics & Art, Inc.)
.AtNu: XX, AtYr: 1992
Herrón III, Willie F.; Lecho de Rosas: Día de los Muertos 1992;
September 30-October 3, 1992; silkscreen; 41 1/8" x 28 1/2"
55 ed.; prnt: José Alpuche; sign: Yes. Inscription: 33/55 “Lecho de Rosas”
WFHerrón 92; fund: Self-Help Graphics & Art; slide photo: unknown;
Comments: Three calaveras amidst rose bushes with bed sheets. The entire image
is framed by a "Border of sun, water and cricket (symbols)"(--Willie
Herrón) as well as text. The text at the top reads, "Dia de los" and
at the bottom "19-muertos-92".
ID No. Cat.2 043
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XXXIX, AtYr: 2001
Herrón III; Willie F.; Seeds From a Hybrid Generation;
October 30-November 03, 2001; Coventry Rag, 290 gms.; 18" x 24"
129 ed.; prnt: José Alpuche; sign: Yes. Inscription: 4/129 Seeds From a New
Generation WFH; slide photo: UCSB Photography; copies: 2.
Comments: "Overlaying images and zine articles taken from various
publications and flyers from THE VEX from 1980, including THE VEX stage back
drop THE VEX HEAD. To Document Self-Help Graphics' contribution to the rise
and fall of the influence THE VEX had on the hybrid Punk and New Wave Movement
by Chicano Musicians for E.L.A."—Willie F. Herrón III. Colors used: Grey
(Warm), Orange (Dull), Deep Red (Dull), Burgandy Red (Dark), and Black.
ID No. Cat.2 044
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XXXIX Special Project, AtYr: 2002
Hoyes, Bernard; Block Party Ritual; April 2-10, 2002;
Coventry Rag, 290 gms.; 14" x 33"
121 ed.; prnt: José Alpuche; sign: Yes. slide photo: UCSB Photography;
Comments: "Central Figures swirling as a conga players emerge as well as
evoke the swirls, symbolizing the rhythm of the music. To the left figures in
praising motion to the right, figures in chorus against cityscape of sky
scrapers and palms over seen by concentric skies in rhythm."—Bernard
Hoyes. Colors used: Green Pantone 355c, Orange Pantone 021c, Cyan
(Process)-2c, Blue Pantone 286c, Yellow (warm) 2c, Transparent White, Warm Red
C, Tan Pantone 158c, White 50%, Red Pantone 200c, Violet Pantone 70% bare, and
Varnish (overall).
ID No. Cat.2 045
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XXXIX Special Project, AtYr: 2001
Hoyes, Bernard; Sanctified Dance; August 14-19, 2001;
Coventry Rag, 290 gms.; 16" x 22"
78 ed.; prnt: José Alpuche; sign: Yes. slide photo: UCSB photography;
copies: 2.
Comments: "Group of figures in a Revival Ritual that involves hand
clapping, tambourines and dance. The print conveys a ceremonial dance. The
figure in full motion, in the Spirit of Sanctified Joy, dance to celebrate
their connection to the Astral world."—Bernard Hoyes. Colors used: Light
Yellow (O), Ultramarine Blue, Green, Red (Dark), Trans White, Warm Red (Trans),
Deep Yellow (Trans), Brown (trans), Transparent Magenta, and Gloss Varnish.
ID No. Cat.2 046
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: Special Project, AtYr: 2001
Huerta, Leticia; Elegie; March 13-17, 2001; Coventry Rag,
290 gms.; 16" x 22"
80 ed.; prnt: José Alpuche; sign: Yes. slide photo: UCSB photography;
copies: 2.
Comments: "Red roses with music sheet and 5 photos in cross
configuration. This print is about my father's recent death. the Elegie is a
piece that my son was learning and had wanted to play at his grandfather's
funeral. He didn't get to do that so I have placed their images and the music
on this print to, in a sense, give them both this last opportunity to share
their music."—Leticia Huerta. Colors used: Clear Blue, Yellow, Light
Green, Dark Green, Dark Red, Off White, Transparent White, Violet, Black, and
Grey.
ID No. Cat.2 047
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: Special Project, AtYr: n.d.
Huerta, Salomon; Untitled (María Felix); May 28-June 1 and
June 18; Coventry Rag, 290 gms.; 16" x 22"
120 ed.; prnt: José Alpuche; sign: No. slide photo: UCSB Photography;
Comments: "Maria Felix on a red background. Homage to Maria
Felix."—Salomon Huerta. Color separations by Miguel Angel Reyes. Colors
used: Fusia 21u - 232u, Dark Pink pr-63-semitrans, Light Dusty Purple, Pale
Pink Opaque, Red 70% Opaque, White Opaque, Light Fusia Opaque, Black Opaque,
Brown/Purple 70& opaque, Trans/White, and Clear Gloss.
ID No. Cat.2 048
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XLII, AtYr: 2003
Jimenez Underwood, Consuelo; La Virgen de los Nopales; May
18-23, 2003; Coventry Rag, 290 gms.; 22" x 16"
72 ed.; prnt: José Alpuche; sign: Yes. Inscription: 22/72 La Virgen De Los
Nopales [illegible] ’03; fund: Self-Help Graphics & Art, Inc.; slide
photo: UCSB Photography - Duplicate photo by Marissa Rangel; copies: 2.
Comments: "Nopales with the Americas are under an intense barbed wire
rain. The Virgens are watching. America is represented by the nopal. The
continent is under attack. The barbed wire that cut up our land are still
raining upon us. The virgen watches. The sun, moon, and flower below are
uncertain and uncomfortable with the situation."—Consuelo Jimenez
Underwood. Colors used: Green - warm-mid, Blue - Light Turq., Brown - Light
warm, Magenta, Light Warm Grey, and Black Rain. From Maestras IV.
ID No. Cat.2 049
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XXXIV, AtYr: 2000
Kemp, Randy; Spiritual Warrior; February 8-12, 2000;
Coventry Rag, 290 gms.; 16" x 22"
75 ed.; prnt: José Alpuche; sign: Yes. Inscription: 20/75 Spiritual Warrior
Randy Kemp ’00; fund: Self-Help Graphics & Art; slide photo: UCSB photography;
copies: 2.
Comments: "Yellow/Orchor Figured and Background. Blue Angel Wings. Four
Circular design elements at bottom foreground (Horse, Eagle, Turtle, and
Buffalo). My works include both the raditional flat, two-dimensional depiction
of tribal life, as well as works in contemporary Indian themes and views. Like
many before me, the innate drive to become an artist is an away of life that
has compelled me to be nothing other than an artist. It is an amazing period
to share with a generation of American Indian artists who are utilizing today's
worldwide mediums of art with the same continuous strength on
"Indianness" as in generations before us. Thus, expressing and
preserving the dignity, respect, purity and beauty of our Indian people."—Randy
Kemp. Colors Used: Yellow Orchor, Dark Purple/Red, Light Blue, Red/Orange,
and Deep Red/Black.
ID No. Cat.2 050
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: Special Project, AtYr: 2002
Kirkpatrick, Garland; ¡No Más Tratos! (No More Deals!);
July 30-31, 2002; Coventry Rag, 290 gms.; 16" x 16"
91 ed.; prnt: José Alpuche; sign: No. slide photo: UCSB Photography;
Comments: "A brown and black empowerment poster. Brown and black fists
join in solidarity against corporate control of affordable housing."—Garland
Kirkpatrick. Colors used: O-Fire Red, O-Dark Brown, and T-Flesh.
ID No. Cat.2 051
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XXXIV, AtYr: 1999
Lee, Betty; Seekers of Gold; July 28-30, August 3, and
December 7-8 1999; Coventry Rag, 290 gms.; 16" x 20"
51 ed.; prnt: José Alpuche; sign: Yes. slide photo: UCSB photography;
copies: 2.
Comments: "The background consists of four different vertical rectangles
of men's faces in dark blue tones; an outline map of the United States in red
with statistical dots and direction lines emanate from siljouettes [sic] of
Chinese laborers circa early 1900. Seekers of Gold refers to the desire of
statistical information in matters especially of immigration and its effect on
commerce, population and culture. Real numbers and actually unavailable in
this work, and the statistical symbols are misleading. And just as well-
Americans seem to prefer the statistics in their imaginations. Seekers of Gold
is intended for the viewer to recall the prevailing attributes given to Chinese
immigrants who arrived in the United States in the 19th and 20th centuries.
Despite laws intended to prevent discrimination in the workplace, the impact of
the newly-arrived, then and now on American culture is uneasy."—Betty Lee.
Colors used: Milori Blue, T-DK Cyan Blue, T-LT. Trans baby Blue, T-Ultra
Marine Blue, O-Yellow, O-Red, and O-Black.
ID No. Cat.2 052
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: unknown, AtYr: 1980
Limón, Leo; D.O.D. Commemorative 1980 (Parade); 1980;
silkscreen;
25 ed.; prnt: unknown; sign: Yes. Inscription: 6/25 Limón; fund: National
Endowment for the Arts, Atlantic Richfield, and the City of Los Angeles;
Comments: Image is of celebrating calaveras in costumes. They stand behind a
yellow rectangle with the announcement, "Come and celebrate with us,
Vengan y Celebren con nosotros. Dia de los Muertos (Day of the Dead) November
2, 1980 Self-Help Graphics & Art, Inc. 3802 Brooklyn Ave., East Los
Angeles, CA 90063 Phone 264-1259 or 268-2335 Traigan sus mascaras y ofrendas al
altar." Text at the bottom of the print reads, "Los Angeles
Bicentennial 1781-1981 Made Possible By Grants From N.E.A., Atlantic Richfield,
and the City of Los Angeles. Design/Limon Copyright 1980".
ID No. Cat.2 053
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: unknown, AtYr: 1981
Limón, Leo; DOD Commemorative 1981 (Legs); 1981;
silkscreen; F/C
25 ed.; prnt: unknown; sign: Yes.
Comments: Image is of a woman's legs in white high-heeled shoes. She wears
black leggings with purple calaveras. "Blue sky, white clouds and bubbles
[are] in [the] background."—Leo Limón.
ID No. Cat.2 054
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XXXIX, AtYr: 2001
Limón, Leo; Morena Y Quetzalcoatl; 2001; Coventry Rag, 290
gms.; 16"x 22"
78 ed.; prnt: José Alpuche; sign: Yes. slide photo: UCSB Photography;
copies: 2.
Comments: "La mujer, madre tierra y la jovencita sit at the bus bench.
She's watching Quetzacoatl's word over-taking the huffing-puffing intervention
horses as they approach our templo's in Aztlan movimiento is in the Air, the
Sky. Young Native lady seated on bus bench. High rise hairdo. Green
background. Serpent image on bench."—Leo Limón. Colors used: Blue, Tan,
Blue (ultra-marine), Yellow (medium), Yellow Green, Red, Orange, Green-Eyes,
Green-Bench, Gray, Light Blue, and Black.
ID No. Cat.2 055
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XL, AtYr: 2002
Lopez, Alma; Chuparosa; June 11-15, 2002; Coventry Rag,
290 gms.; 16" x 22"
78 ed.; prnt: Joe Alpuche; sign: Yes. Inscription: 50/78 Chuparosa Alma
Lopez 2002; fund: Self-Help Graphics & Art, Inc.; slide photo: UCSB
Photography. Duplicate photo by Marissa Rangel; copies: 2.
Comments: Atelier silkscreen print depicts a photo-silkscreened image of a woman's
back, arms akimbo. Her head is cocked to the side revealing part of her face.
She has short hair and her shirt features two stylized Mayan females holding
hands. This entire image is superimposed on an image of a red hummingbird that
fills the rest of the space of the print. At the bottom of the print, in front
of the woman, another stylized female Mayan sits with her legs open. She is
seated in front of a recumbent Mayan deity. "A woman with hands on her
hips (instead of pelvis), a reverse pose of the Earth goddess."—Alma
Lopez. Colors used: Charcoal/grey, Red, Brown, Blue, Light Grey, Yellow
Ochre/Mustard, Orange Red, Transparent White, Transparent Brown, Transparent
Black, White, Black, and Gloss. From Maestras III.
ID No. Cat.2 056
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XXXIV, AtYr: 1999
Lopez, Alma; Mnesic Myths; July 20-24, 1999; Coventry Rag,
290 gms.; 16" x 20"
47 ed.; prnt: Joe Alpuche; sign: Yes. slide photo: UCSB photography;
Comments: "A young woman extends her hands to another young woman who
lays/rests on the image of coyolxauhqui- the Aztec moon goddess. Behind them
is a line drawing of coatlique- Earth Goddess, and Popocatepl and Ixtacihuatl.
Below is a band of Aztec codex to symbolize the sky. Mnesic Myths is an
adjective to describe something that is relative to memory. Mnesic myths, the
title, refers to myths which may be remembered or recalled. This silkscreen
has the myth of Coatlique and Coyolxauhqui, and the Romeo-Juliette type myth of
Popocatepetl and Ixtacihuatl. Both are pre-Colombian myths which are places in
western contemporary times with the image of two young homegirls."—Alma
Lopez. Colors used: Off White, Beige/Brown, M. Brown, Red Brown, White, Blue
Black, and Black.
ID No. Cat.2 057
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XLI, AtYr: 2002
Lopez, Alma; Our Lady of Controversy; December 3-7, 2002;
Coventry Rag, 290 gms; 22" x 16 1/4"
73 ed.; prnt: José Alpuche; sign: Yes. slide photo: UCSB photography;
copies: 2.
Comments: "Image of a woman wearing flowers and blue cape, on a
flowery-patterned background, held by a bare breasted butterfly
angel."—Alma Lopez. Colors used: brown, orange, red brown, flesh,
transparent white, blue, green, red, yellow, white, and black.
ID No. Cat.2 058
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XXXIII, AtYr: 1999
Lopez, Yolanda; Jaguar Woman Warrior: Woman's Work is Never
Done; 1999; silkscreen; 18" x 26"
72 ed.; prnt: José Alpuche; sign: Unknown. fund: Self-Help Graphics &
Art; slide photo: unknown;
Comments: Image is of a female Aztec jaguar knight, a calavera, a hand writing
a prescription, a heart, and two purple orchids. Text running sideways along
the left side of the print reads, "Jaguar Woman Warrior Woman's Work Is
Never Done". From Maestras I.
ID No. Cat.2 059
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XLI, AtYr: 2003
Lopez Martinez, Aydee; Moved by Your Rhythmic Eyes; March
25-28 and April 1-3, 2003; Coventry Rag, 290 gms; 20" x 15 1/2"
118 ed.; prnt: unknown; sign: Yes. slide photo: UCSB photography;
Comments: "The print was created to represent the Grand Performances
brochure for the 2003 Summer program in downtown Los Angeles."—Aydee Lopez
Martinez. Colors used: Ultramarine Blue semi-trans., Yellow Ochre, Blue shade
red, Sienna light, Semi-Opaque white, Magenta, Transparent white, Black,
Ultramarine Blue, Transparent white, Magenta, and Gloss.
ID No. Cat.2 060
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XXXIX, AtYr: 2002
Lozano, José; El Ropero de Frida / Frida's Armoir; March
19-23, 2002; Coventry Rag, 290 gms.; 16" x 20 1/4"
75 ed.; prnt: José Alpuche; sign: Yes. slide photo: UCSB Photography;
copies: 2.
Comments: "The image is of the artist Frida Kahlo. Its an homage to her
talent and spirit. The image deals with the allure of Frida Kahlo. Its
commenting on Frida becoming as popular as BARBIE. I'm drawn to her strength
as an image maker and personality. I like the idea of her being portable and
taking her along everywhere physically and spiritually. It's another one of my
many homages to her."—José Lozano. Colors used: Black, Pink, Flesh, Light
Blue, Brick Red, Dark Brown, Dark Blue, Dark Red, Olive Green, Yellow Ochre.
ID No. Cat.2 061
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XVII, AtYr: 1991
Lozano, José; Hero-Héroe; 1991; 28” x 36 5/8”
57 ed.; prnt: José Alpuche; sign: Yes. Inscription: 34/57 Hero / Héroe José
Lozano 91; slide photo: unknown; copies: 2.
Comments: The head of a Mexican wrestler in a mask. The background is made up
of a repeating pattern of people's faces.
ID No. Cat.2 062
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XXXV, AtYr: 2000
Manje, R. David; Dreamers, Magicians, and Star Navigators;
February 1-2, 2000; Coventry Rag, 290 gms.; 16" x 22"
80 ed.; prnt: José Alpuche; sign: Yes. Inscription: 20/80 Dreamers
Magicians and Star Navigators David Manje; fund: Self-Help Graphics & Art;
slide photo: UCSB photography; copies: 2.
Comments: "Stellae carving, fish, crosses, pyramid, multi-blend arch. This
print depicts elements of the mayan civilization along with incongruous
elements that yet portray their quest and achiev[e]ment in astrological
navicational [sic] skills. The presentation of the crosses, burial fields and
explosion burst add to the dream-like layers of incongruent dreams."—R.
David Manje. Colors used: Blend-Purple to Cerulian bl., Yellow-Trans, Red
Orange- Trans, Green-Trans, Green-Trans, Dk Violet/Black Opaque, Gold-Opaque,
and Beige-Trans.
ID No. Cat.2 063
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XXV, AtYr: 1995
Martínez, Isabel; Raza y Cultura; 1995; 30” x 41 7/8”
58 ed.; prnt: José Alpuche; sign: Yes. Inscription: 52/58 “Raza &
Culture” Isabel Martinez 95;
Comments: Multicolored, active print has few distinguishable images. Among
them are faces and a heart.
ID No. Cat.2 064
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XXXVII, AtYr: 2001
Martínez, Isabel; V.G. Got Her Green Card; February 8-15,
2001; Coventry Rag, 290 gms.; 22" x 16"
80 ed.; prnt: José Alpuche; sign: Yes. slide photo: UCSB photography;
copies: 2.
Comments: "A Virgin of Guadalupe holding a green card."—Isabel
Martínez. Colors used: T-Ultra Blue, T-Violet, T-Magenta, T-Yellow,
T-Turquoise, T-Green Shade Yellow, T-Flesh, O-Black, O-Green, T-White, Clear
Gloss, and T-Yellow-Orange.
ID No. Cat.2 065
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XXIII, AtYr: 1993
Martinez, Paul; In Memory of Cesar Chavez; November 12-16,
1993; Silkscreen; 16" x 22"
65 ed.; prnt: José Alpuche; sign: Yes. Inscription: [illegible]; fund:
Self-Help Graphics & Art; copies: 2.
Comments: “Memorial of Cesar Chavez consists of a "NO GRAPES"
sticker on top left. Brahma bull on the lower left hand corner with four oval
portraits of Cesar Chavez and falling typography on right side.”—Paul Martinez.
ID No. Cat.2 066
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: Special Project, AtYr: 2002
Mejia-Krumbein, Beatriz; Caution (Captive); 2002; Coventry
Rag, 290 gms.; 16" x 22"
80 ed.; prnt: José Alpuche; sign: Yes. slide photo: UCSB Photography;
copies: 2.
Comments: "The image "CAPTIVE" reveals a close up of a face
with wide open eyes. The face is framed by a red border filled with blue
flowers, and green and yellow leaves. The pattern of flowers, leaves, and branches
grows to form a layer in front of the face outlined in black. The face and
frame (border) are mainly red. CAUTIVA 'Captive' (a) kept within bounds:
confined b) held under control (c) extremely pleased or gratified (d) making
departure difficult. (Webster's Collegiate Dictionary) The image
"CAPTIVE" as the word's definition is ambiguous and has positive and
negative implications. Although i[t]s formal elements are vivid and pleasant,
the face is confined within a frame (and) the layer formed by the branches,
flowers and leaves in front of the face represents elements of incarceration.
Many women are confined and kept apparently gratified with material goods but
their soul[s] are locked away."—Beatriz Mejia-Krumbein. Colors used:
T-Skin, T-Yellow, T-Red, T-Light Gray, T-Dark Gray, T-Brown, T-Green, Blue, and
T-Black.
ID No. Cat.2 067
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: Special Project, AtYr: 2002
Memphis; Cliché Inversion; July 17-19, 2002; Coventry Rag, 290
gms; 22" x 16"
73 ed.; prnt: José Alpuche; sign: Yes. slide photo: UCSB Photography;
copies: 2.
Comments: "The shape of the tree is formed with the word "TU CASA ES
MI CASA". Poring [sic] out from the leaves is a deranged pig wearing a
poor ball helmet and holding a carfe football over the head of a dazed and
angry canary who sits in his broken shell on the ground with egg yolk dripping
off of his head from the other eggs the pig has cast to the ground."
"CLICHE' inversion takes the familiar CLICHE 'MI CASA ES TU CASA' and
flips it to now !AY 'TU CASA ES MI CASA'. This statement is the pigs spin in
the phrase as he has scaled up a tree and kicked out its inhabitants (A SMALL
CANARY) and its unhatched siblings with no regard to the fact that the birds
were there first to say nothing of the fact that in general, trees are homes to
birds, even squirrels but never pigs. Symbolically, the pig with his football
helmet represent the greed of capitalistic developers - specifically the powers
that be behind the football stadium currently being proposed for downtown Los
Angeles. The helpless canary is both bewilder[ed] and angry at this hostile
take over. The canary represents the people who live in the proposed stadium
site. The Broken eggs that ( ) the landscape are literally bird embryos.
These represent the destruction of dreams, futures and quite possibly the lives
of those persons ( ) in 'STADIUM LAND' and the ripple that this variety of
displacement ( ) has for the residents children/family."—Memphis.
Colors used: Black, Bright Red, Crayola Yellow, Medium Brown, Forest Green, and
Bubble gum Pink.
ID No. Cat.2 068
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: Special Project, AtYr: 2002
Mendoza, Ricardo; Respect; August 6-10, 2002; Coventry
Rag, 290 gms.; 16" x 21 1/2"
91 ed.; prnt: José Alpuche; sign: Yes. slide photo: UCSB Photography;
Comments: "A developer is hammering the spike of Gentrification into a
building covered with the American flag and destroying it. The residents are
facing the developer in silho[u]ette spelling out the word RESPECT across their
backs. A larger figure represents "Justice & Dignity" has
denoted expensive roots below which are being eaten by termites of greed and
indifference. The developers hands also eat at the community by roots and are
being showered with money." "The theme was developed from the goal
to serve a dialogue for both the oppressor and the oppressed; The
Development/Landlords and the resident tenants. I wanted to present illegal
evictions as an Un-American act in response to the often one sided patriotism
experienced today. The tenants in silhouette are dipicted [sic] as standing up
to the developer, looming large figure with a football head. He is however,
vulnerable in that he is plug in being pulled by the figure representing
"Justice & Dignity" her roots are being eaten away by termites
representing 'indifference' and 'greed'."—Ricardo Mendoza. Colors used:
Black, Ultra Marine Blue, Cerulean/Cobalt Blue, Cadmium Red, Golden Sienna, and
Cad Yellow.
ID No. Cat.2 069
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XXXVIII, AtYr: 2001
Miguel-Mullen, Cristina; Mangán Tayón- Food for Thought;
May 1-8th, 2001; Coventry Rag, 290 gms.; 26"x 18"
84 ed.; prnt: José Alpuche; sign: Yes. Inscription: [illegible] “Food For
Thought” [illegible]; fund: Self-Help Graphics & Art, Inc.; slide photo:
UCSB Photography - Duplicate photo by Marissa Rangel.; copies: 2.
Comments: "The central image of the piece is a woman cooking food and
wearing an apron which reads "Mangán Tayón" which in Ilocano means
"Let's Eat." fields of gold surround her and feature portraits and
images of the artist's grandparents, faces, and as farmworkers working in the
fields. They are depicted in sepia and skin color/flesh tones to indicate a feeling
of the past in comparison to the central figure of the woman who is shown in
more intense colors with warmer flesh tones to indicate the present. In the
foreground are plates of food, spices, sauces, fruit and vegetables used in the
preparation of the food which are all symbolic to the artist family community
and culture." "The Mangan Tayon-Food for Thought print was
designed to conceptualize the process of food consumption, the labor of
agriculture and importance of cuisine preparation to the family. The theme of
food for the print was inspired by personal memory, identity and heritage. The
images in the print brought together many different environments relating to
food: the labor involved in bringing food to our tables in the kitchen and also
in the agricultural fields we often take for granted. The work also represents
the cultural and traditional significance that food represents to the artist's
Pilipino culture and cross-cultural significance where food is a way to bring
family together. Each image was based on family pictures taken in the kitchen
of the artist's mother cooking, from old family photo albums showing the
diaspora of the artist's grandfather who was a part of the historical first
wave of immigrant farm-workers from the Philipines and her grandmother who was
able to come here as a contracted nurse and personal domestic care-giver for a
family of Multinational Chevron Oil Corporate Officer. This was rare due to
the fact that this took place during a time when Asian Women were banned from
immigrating to the US due to the Tydings McDuffy Law restricting them due to
the threat of them marrying into the Anglo society. In addition historical
photos were integrated into the piece depicting the early farm workers photos
taken at Agbayani Village showing the significance of Pilipinos to the UFW
movement specifically the early grape strikes where Chicanos, Mexicans and
Pilipinos came together to fight against the injustices of the grape farm
workers researched at Visual Communications in Los Angeles. There are
culturally symbolic foods, spices, and produce on the table indicative of the
Pilipino culture, showing how culture is passed on to future generations
through the tradition of food preparation. Some of most favorite memories are
those of working in the fields with my cousins and preparing food in the
kitchen sharing stories with my sisters and mom.
According to one's background and culture, food takes on different meanings.
Due to multiculturalism and globalization the people of the world are
continually interacting with each other and as a result are constantly being
introduced to a diversity of customs, traditions and ways of life. With this
work, I hope to reinforce a new sensitivity to a deeper understanding of one
another based on tolerance and cross-cultural understanding. Mangan Tayon is
about the familiar act of eating we all take part in and functions as a
metaphor for life exploring different perspectives existing in our society on
the theme of food. The work is about the experience of eating. I believe the
process of producing this work was personally more important than the product
which supported people sharing their own oral histories and family stories
provoking discussion with the viewers about their own personal experiences
surrounding the memories of their family on the theme of "food".
Discussion was brought up in the process of creating this work deconstructing
the issues of food and pertaining to how produce is grown, picked and
distributed. Revealing personal accounts of injustice to workers, details of
the hard work involved and personal accounts from family members of the artist
in terms of exposure to pesticides and harmful working conditions were all
provoked due to the subject matter of this piece.
'My mother remembers the foreman telling my lolo, my grandpa, to mix the
pesticides with his own two hands before spraying the fields with it. My
grandpa later died of cancer due to all the pesticides he had been exposed to
while working in the fields.'
Their hard work often [went] unnoticed, unappreciated, and [was] often the
subject of xenophobia and racism."—Cristina Miguel-Mullen.
Colors used: Cyan, Magenta, Dark Yellow, Flesh Tone (orange, brown), Sepia,
Jade Green, Flesh Tone Dark (orange, brown), Gold, Purple, Off
White-Highlights. From Maestras II.
ID No. Cat.2 070
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: Special Project, AtYr: 2001
Mincher, Sally; Echo Park; July 24 - 27, 2001; Coventry
Rag, 290 gms.; 16"x 22"
80 ed.; prnt: José Alpuche; sign: Yes. slide photo: UCSB Photography;
copies: 2.
Comments: "Landscape showing water lilies in bloom with foliage reflected
in the water. Location Echo Park, Los Angeles. Landscape: view of the lake in
Echo Park, Los Angeles showing water lilies in bloom, with reflections of
foliage in the water. Developed from the original painting of hte [sic] same
title. Original painting commissioned in 1986 by linda sessions."—Sally
Mincher. Colors used: T. Salmon Pink, O. Lemon Yellow, O. Turquoise, T. Burnt
Sienna, T. Lime Green, T. Powder Blue, T. Ivory warm-white, T. Magenta/Purple,
and T. Dark blue/Green.
ID No. Cat.2 071
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XLI, AtYr: 2003
Molina, Laura; Cihualyaomiquiz, The Jaguar; December
10-14, 2002 and March 18, 19, and 20, 2003; Coventry Rag, 290 gms.; 22" x
16"
46 ed.; prnt: José Alpuche; sign: Yes. slide photo: UCSB photography;
copies: 2.
Comments: “A leaping female figure wearing a skin-tight ocelot leotard,
wrestling boots and a feathered Native-American headdress in front of a yellow
star burst on a deep violet background. Upper left corner has "Insurgent
Comix" logo with a clenched fist. The comic book title appares [sic] at
the top with dialogue balloons around the figure and descriptive text in lower
left corner.”—Laura Molina. Colors used: Pink - Yellow Blend, Gold, Ocelot
Orange, Flesh Tone, Red, Aqua, Violet, Orange, Black, Deep Gray, Transparent
Black, Deep Blue, Block-Out White, Aqua and Gloss Clear.
ID No. Cat.2 072
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XXXIII, AtYr: 1999
Montoya, Delilah; El Guadalupano; 1999; silkscreen;
18" x 26"
51 ed.; prnt: José Alpuche; sign: Unknown. fund: Self-Help Graphics &
Art; slide photo: unknown.;
Comments: "Photographic image depicting a "Pinto" (inmate)
standing in front of prison bars with handcuffs on and a tattoo of the Virgen
de Guadalupe on his back. A bouquet of roses with hand turned upward below the
image."—Delilah Montoya. From Maestras I.
ID No. Cat.2 073
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XXXVII, AtYr: 2000
Montoya, Richard; Mickey Mao; July 25-27, 2000; Coventry
Rag, 290 gms.; 26" x 40"
100 ed.; prnt: José Alpuche; sign: Yes. Inscription: 6/100 Mickey Mao
Richard Montoya CC/RCAF 00; slide photo: UCSB photography; copies: 2.
Comments: ""Mickey Mao" simple use of corporate and communist
images juxtaposed with humor and poetry. Corporate & communist cultures
have merged in this millenium. The contradictions are here. I yearn secretly
for both. I salute Mao and I enjoyed Coke in Chiapas."—Richard Montoya.
Colors used: Electric Blue, Fire Engine Red, Twinkie, Dark Purple, and Creamy
Yellow.
ID No. Cat.2 074
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XXXV, AtYr: 2000
Moreno, Martín; Dualities; February 17-18, 2000; Coventry
Rag, 290 gms.; 16" x 22"
80 ed.; prnt: José Alpuche; sign: Yes. Inscription: 20/80 Dualities Martín
Moreno; slide photo: UCSB photography; copies: 3.
Comments: "Half of the image deals with life, the other with death showing
the intricacy between life and death skeleton dropping seeds into life's hand
(woman). The print deals with dualities night and day, life and death, light
and dark. Dualities deals wit[h] the balance of life our life cycle. that
from death comes life."—Martín Moreno. Colors used: O-Flesh Brown,
T-Light Brown, T-Blue Shade Red, T-Baby Blue, T-Red Shade Yellow, and O-Dark
midnite blue.
ID No. Cat.2 075
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XX, AtYr: 1992
Norte, Armando; Niña Héroe; August 22-25, 1992;
silkscreen; 24" x 30"
68 ed.; prnt: José Alpuche; sign: Yes. Inscription: Niña Héroe; fund:
Self-Help Graphics & Art; copies: 2.
Comments: Image is of a young girl in calavera makeup holding a wooden rifle
with a skeleton dangling from it. She wears a sombrero and bandolero and her
arms are skeletal. A plush toy doll is on the ground beside her. The
background is brown. Possibly a play on the "Niños Héroes of
Chapultepec".
ID No. Cat.2 076
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XXXIII, AtYr: 1999
Olabisi, Noni; King James Version; 1999; silkscreen;
18" x 26"
58 ed.; prnt: José Alpuche; sign: Unknown. fund: Self-Help Graphics &
Art; slide photo: unknown.;
Comments: A pregnant woman's hands are bound above her head to a post and her
back is bloody. In the background is an African fetish. In the lower area is
a revolver superimposed on two pages from the King James Version of the Bible.
From Maestras I.
ID No. Cat.2 077
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XXIX, AtYr: 1996
Oropeza, Eduardo; Chicuelina; 1996; silkscreen; 17" x
21"
77 ed.; prnt: José Alpuche; sign: No. fund: Self-Help Graphics & Art;
slide photo: Unknown; copies: 2.
Comments: Image is of a bullfight where the spectators are calaveras.
ID No. Cat.2 078
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: VI, AtYr: n.d.
Oropeza, Eduardo; (title unknown); n.d.; silkscreen;
Unknown ed.; prnt: Unknown; sign: Yes. copies: 1.
Comments: A priest leads a funerary procession of calaveras.
ID No. Cat.2 079
Atelier (Self-Help Graphics & Art, Inc.)
AtNu: XLT, AtYr: 2003
Orosco, Juanishi V.; Angel d
